In working towards ways of reading Mann, so that his own advances in suggesting new perspectives will become more vivid, I do some fairly standard philosophical analysis of ideas in Nietzsche and Schopenhauer.

Britten's opera tends to see things in simpler terms. It portrays an Aschenbach who wants a richer form of sexual fulfillment, and who is hemmed in by the social conventions to which he subscribes. But Visconti's use of the Mahler Adagietto is perfect for what I take to be Aschenbach's sexual desire.

Mann is widely recognized as a master of irony and ambiguity, yet it's remarkable how quickly people foreclose options he carefully leaves open. Lots of readers - including eminent critics - jump to conclusions: that Nietzsche's Birth of Tragedy is a central background text, that Aschenbach is an inferior writer, that he's never been attracted by pubescent male beauty before, that he dies of cholera.

I rather stumbled into philosophy. When I began my undergraduate career at Cambridge, I studied mathematics.

Finally, this is one way to reconcile the delight in beauty with the bourgeois life. Aschenbach, on one reading, has spent virtually all of his adult life balancing his restrained homosexuality, which is bound together with his sensitivity to beauty and thus with his artistic vocation, against the demands of conventional society.

I intend Deaths in Venice to contribute both to literary criticism and to philosophy. But it's not "strict philosophy" in the sense of arguing for specific theses. As I remark, there's a style of philosophy - present in writers from Plato to Rawls - that invites readers to consider a certain class of phenomena in a new way. In the book, I associate this, in particular, with my good friend, the eminent philosopher of science, Nancy Cartwright, who practices it extremely skilfully.

First, my frame of reference for the Britten opera shifted. I'd always thought of Britten's approach in Death in Venice as another exploration of the plight of the individual whose aspirations are at odds with those of the surrounding community: his last opera returning to the themes of Peter Grimes. As I read and listened and thought, however, Billy Budd came to seem a more appropriate foil for Death in Venice.